Arriola - Orchestral Music
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Label: Brilliant Classics
Cat No: 95797
Format: CD
Number of Discs: 2
Genre: Orchestral
Release Date: 5th October 2018
Contents
Works
Concertino for piano and orchestraDivertimento concertante for 2 pianos and orchestra
Horn Concerto
Poesias de Antonio Machado (6)
Artists
Joaquin Soriano (piano)Victor de Valle (piano)
Luis de Valle (piano)
Carmen Duran (soprano)
Ainhoa Zubillage (alto)
Javier Franco (baritone)
Francisco Santiago (tenor)
David Fernandez Alonso (horn)
Real Filharmonia de Galicia
Conductor
Maximino ZumalaveWorks
Concertino for piano and orchestraDivertimento concertante for 2 pianos and orchestra
Horn Concerto
Poesias de Antonio Machado (6)
Artists
Joaquin Soriano (piano)Victor de Valle (piano)
Luis de Valle (piano)
Carmen Duran (soprano)
Ainhoa Zubillage (alto)
Javier Franco (baritone)
Francisco Santiago (tenor)
David Fernandez Alonso (horn)
Real Filharmonia de Galicia
Conductor
Maximino ZumalaveAbout
Most of Arriola’s work was lost when his home in Berlin was destroyed during the Second World War. The manuscripts for the three concertos and two song-cycles presented here were discovered just a few years ago, and mysteriously vanished almost as soon as they had been photocopied for dissemination. They were composed in the final decade of Arriola’s life: in 1946 he settled in Barcelona, where he lived quietly until his death in 1954.
Arriola’s music belongs to the second golden age of Spanish music, that of Albéniz, Granados, Turina and Falla (and, a little later, Joaquín Rodrigo), flavoured by nationalism and the rich Spanish folk tradition, along with a verismo that concerned itself with the ordinary people of Spain and their suffering (as mirrored in Carmen, or Candela in El amor brujo). Yet in common with other post-Romantic composers, Arriola sought out a world of vanished beauty, experimenting with colour, texture, unusual tonal combinations and harmony full of colour, sensuality and emotion.
As a student in Leipzig, Arriola had been taught by Richard Strauss, and his teacher’s influence may be heard to positive effect in both the soaring vocal lines of the Tres textos cervantinos and the transplanted Classical idiom of the Horn Concerto. The piano-writing in the Concertino and Divertimento concertante is more compact and Stravinskian, while two songs from the cycle of Seis poesías de Antonio Machado disclose yet another, more impassioned facet of Arriola’s style.
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